In this picture book classic, travel with young Walter on a fantastical adventure as he journeys--by way of his bed--into a polluted dreamscape world that wakes him up to our collective and individual environmental responsibility. Walter does not appreciate the beauty of nature, or understand his role in keeping the planet healthy . . . until a fantastic journey shows him the tragic fate that could befall Earth if humans like him are not more careful. Chris Van Allsburg (The Polar Express) pairs pitch-perfect narrative with his full-color pastel illustrations, rendering this picture book a story that has stood the test of time. "Two-time Caldecott Medalist Van Allsburg reaches a new pinnacle of excellence in both illustration and storytelling in his latest work." --Publishers Weekly This anniversary edition includes a stunning new jacket!

Just months before her death, Marilyn Monroe gave a young photographer his big break, and this is his story "You're already famous, now you're going to make me famous," photographer Lawrence Schiller said to Marilyn Monroe as they discussed the photos he was about to shoot of her. "Don't be so cocky," Marilyn replied, "photographers can be easily replaced." The year was 1962, and Schiller, 25, was on assignment for Paris Match magazine. He already knew Marilyn -- they had met on the set of Let's Make Love -- but nothing could have prepared him for the day she appeared nude during a swimming pool scene for the motion picture Something's Got to Give . Marilyn & Me is an intimate story of a legend before her fall and a young photographer on his way to the top. Schiller's original text and extraordinary photographs--over two thirds of which have never or rarely been published --take us back to that time, and to the surprising connection that allowed Marilyn to bond with a kid from Brooklyn, a kid with a lot of ambition but very little experience. Now, 50 years later, TASCHEN is publishing Lawrence Schiller's story as a signed, numbered monograph limited to 1,962 copies, for the year of Monroe's untimely death. Schiller's is a story that has never been told before, and he tells it with tact, humor, and compassion. The result is a real and unexpected portrait that captures the star in the midst of her final struggle. Collector's Edition of 1,712 numbered copies (books numbered No. 251-1,962) signed by the photographer. Also available in two Art Editions of 125 copies , each with an original photograph The book and clamshell box are covered in a custom woven duchesse silk from one of the world's most distinguished silk mills, Taroni , of Como, Italy Printed on archival paper Four foldouts, with one gatefold measuring a full 110 cm (44 in.) across Translation booklet of the text available in German, French and Spanish with purchase upon request

Since September 2009, the legendary fashion and portrait photographer Terry Richardson has been keeping an online photo diary, posting a new picture every day. These posts typically contain informal portraits of whomever Richardson is shooting, or whichever celebrity, artist or other public figure has dropped by the studio--either for an actual sitting or perhaps to discuss an upcoming project. Also posted to the site are examples of Richardson's street photography--snaps of street signs, buildings and sights around New York. As with Andy Warhol's Time Capsules , the accumulation of these candid, off-the-cuff photographs over the past three years has amounted to a social map of the most interesting people on the fashion, art, political and music scenes. Equal parts red carpet and intimate salon, the parade of people who enter Richardson's studio is boggling in its diversity. Amongst the thousands featured in Terry Richardson's Diary 2010 are Barack Obama, Lady Gaga, Rihanna, Angela Westberry, Frank Ocean, Richard Prince, Ryan McGinley, Donatella Versace and Kate Moss. This tantalizing array of images also provides a sense of how many of our media and pop culture images are shaped by the creative energies of one talented individual. The book is presented in a yearbook format to accentuate its origins as a daily practice. Known for his punk-rock sensibility and willingness to take a fresh, edgy approach to portrait, fashion and documentary photography, Terry Richardson (born 1965) boasts a list of fashion clients including Marc Jacobs, Tom Ford and Yves Saint Laurent. His editorial work has been featured in publications ranging from Rolling Stone to Vogue and Vice .

A picture universally recognized, endlessly scrutinized and described, incessantly copied, adapted, lampooned: does Leonardo's near-ruined Last Supper still offer anything new to be seen or to be said? This book is a resounding Yes to both questions. With direct perception -- -and with attention paid to the work of earlier scholars and to the criticism embodied in the production of copyists over the past five hundred years -- Leo Steinberg demonstrates that Leonardo's mural has been consistently oversimplified. This most thought-out picture in Western art, painted in the 1490s on the north wall of the refectory of Santa Maria delle Grazie, Milan, is a marvel of compressed meanings. Its subject is not one arrested moment, but successiveness and duration. It is not only Christ's announcement of the forthcoming betrayal, but in equal measure the institution of the Eucharist. More than the spur of the moment animates the disciples, and more than perspective determines their housing. Though Leonardo's geometry obeys all rules, it responds as well to Christ's action at center, as if in emanation from the prime mover. The picture is simultaneously narrative and sacramental. As its protagonist is two-natured, as the twofold event of this night is both human submission and divine dispensation -- -so the entire picture is shown to have been conceived in duplexity: a sublime pun.Meanwhile, the unending disagreement as to what exactly is represented, what the depicted actions express, how and where this assembly is seated -- -all these still-raging disputes are traced to a single mistaken assumption: that Leonardo intended throughout to be unambiguous and clear, and that any one meaning necessarily rules out every other.As Steinberg reveals an abundance of significant interrelations previously overlooked, Leonardo's masterpiece regains the freshness of its initial conception and the power to fascinate.

Seeing the Insane is a richly detailed cultural history of madness and art in the Western world, showing how the portrayal of stereotypes has both reflected and shaped the perception and treatment of the mentally disturbed. Covering the Middle Ages through the end of the nineteenth century, Sander L. Gilman explores the depictions of mental illness as seen in manuscripts, sculptures, lithographs, and photography. With artistic renderings and medical illustrations side-by-side, this volume includes over 250 visual displays of the mentally ill. These images capture society's reliance on visual motifs to assign concrete qualities to abstract ailments in an attempt to understand the marginalized. Gilman's collection of images demonstrates how society has relegated the mentally ill to a state of "otherness" and portrays how society's perceived realities concerning the insane have morphed and evolved over centuries. Sander L. Gilman, PhD, is a distinguished professor of the Liberal Arts and Sciences as well as Professor of Psychiatry at Emory University. A respected educator, he has served as Old Dominion Visiting Professor of English at Princeton; Northrop Frye Visiting Professor of Comparative Literature at the University of Toronto; Mellon Visiting Professor of Humanities at Tulane University; Goldwin Smith Professor of Humane Studies at Cornell University; and Professor of the History of Psychiatry at Cornell Medical College. He has written and edited several books including The Face of Madness and Sexuality: An Illustrated History . " Seeing the Insane is a visual history of the stereotypes that have shaped the perception of the mentally ill from medieval through modern times. The result is nearly as heartbreaking as a visual history of the Holocaust. In picture after picture, the book portrays centuries of intolerance for deviance, mindless cruelty, unthinking prejudice, and self-righteous abuse of the weak and ill." - American Journal of Psychiatry "As extraordinary in concept as it is in its execution. . . . This remarkable book helps laymen as well as specialists to see the insane, but it does far more. When we study the past, we understand the present. When we see the conventional stereotype images of insanity, we find they still color our concepts of madness. Through these pictures of the insane, we see all humanity. We look, not through a glass darkly, but through a multiplicity of media, brightly." - Antiquarian Bookman Readers interested in related titles from Sander L. Gilman will also want to see: Face of Madness: Hugh W. Diamond and the Origin of Psychiatric Photography (ISBN: 9781626549234), Sexuality: An Illustrated History (ISBN: 9781626549227).

Pomegranate's Jonathan Green coloring book features 22 entrancing images by the popular American artist. Coloring pages are blank on the back so they can be cut out and displayed. One forty-eight page 8 1/2 x 11 in. book with twenty-two images to color. Each illustration is reproduced in a small, color version of the original artwork and as a full-page black line drawing. The painter Jonathan Green lives in Naples, Florida, but he grew up near the tidal marshlands of South Carolina, a member of the Gullah community. The ancestors of Gullah families were slaves brought to North America from West Africa, and their traditional culture has proven quite resilient. In Jonathan Green's pictures we encounter scenes from his childhood--the land, the animals, and the people are those he remembers. You'll find twenty-two of Green's paintings in this coloring book. They are shown as small pictures on the inside front and back covers. You'll notice that he likes lots of bright yellows and reds and often shows people wearing big hats. When you color in these pictures, you might want to try to copy the original colors, or you might decide to use your own. The last page of this book is blank so that you can draw and color your own picture, one that shows something from your life. Maybe it will be a place, a pet, a friend, or someone from your family. Or maybe it will be something you saw and remembered, like a fancy car or a balloon, or a big hat. Take your time and try using some fun, bright colors, as Jonathan Green does.

LET THERE BE SCULPTURE by Jacob Epstein FOUNDED 1838 G. P. PUTNAMS SONS NEW YORK COPYRIGHT, 1940, BY JACOB EPSTEIN All rights reserved. TAis book, or parts thereof, must not b reproduced in any jorm without permission. Designed by jRolwt Josephy Itia IN THE UNITED STAVftS Of A M I El C A r M iit it Ay-, THE VISITATION ACKNOWLEDGMENTS FOR permission to quote from letters and articles published in numerous newspapers and periodicals, I wish to acknowledge my gratitude both to the publishers and, in the case of signed articles and letters, to the authors. My thanks are due to the Birmingham Mail, the British Medical Journal, the Catholic Times, the Daily Express, the Daily Mail, the Daily Telegraph, the Eve ning Standard including an article from the Pall Mall Gazette, now amalgamated with the Evening Standard, the Manchester GiMrdian, the Nation, Neptune, the New Age, the New English Weekly, the News Chronicle, the New Statesman, the New York Evening Post, the Observer, Picture Post, Reynolds Illustrated Weekly, the Spectator, the Star, the Sunday Dispatch, the Sunday Pictorial, the Sunday Times, the London Times, Truth, the Uni verse and to William Heinemann, Ltd., for permission to quote from Ibsens When We Dead Awaken, Also to the following people, who have given their personal per mission to quote their words from the sources mentioned above L. B, Powell, Professor D, S. MacColl, Sir Muirhead Bone, Holbrook Jackson, Mary Borden, Pierre Jeannerat, Sir Eric Maclagan, Richard Sickert, Sir Kenneth Clark, G. F. Hill, H. S. Goodhart-Rendel, J, B, Manson, T, W, Earp, Sir Edwin Lutyens, R. R. Tatlock, Sir Charles Allom, W, H. Coatc, Sir Charles Holden, James Bone, Sir Reginald Blomfield, Charles Marriott article in the Outlook, J Middleton Murry, Sander Pierron, Hugh Gordon Porteus, William McCance, Raymond Mortimer, Jan Gordon, R. H, Wilenskl, Bernard Shaw, H. G, Wells, Sir John Lavery, Ezra Pound article in the Bgoitt, Rev. Albert Beldea, Antony Blunt, Rev. L. Weatherhead, John Macadam, Rev. Edward ShilHto, Law rence Binyon, Sir George Hill, Robert Jessel and John Gibbons, CONTENTS i New York 1880-1902 3 n Paris Aa Apprenticeship. London Days of Struggle 1902-1905 15 in A Thirty Years War The Strand Statues 1908-1937 24 iv Contacts and Encounters 1908-1912 33 v The Tomb of Oscar Wilde 1912-1913 43 vi Abstractionists and Futurists. A Philosopher Friend 1913-1917 49 vii Portraits 58 vm My First Statue of Christ 1917-1920 92 ix On the Edge of Londons Bohemia 99 x The Hudson Memorial the Rima Row 1925 105 xi New York Revisited 1927 114 xn Day and Night Genesis. Old Testament Drawings 1929-1933 xni Behold the Man. Consummatum Est 1935-1937 xiv Les Fleurs du Mai 1938 142 vii viii CONTENTS xv Adam 1939 150 xvi Children 157 xvn African and Other Primitive Carvings 161 xvin The British Museum and Greek Sculpture 167 xix Journalists and the Jew. Dog Eats Dog 176 xx I Listen to Music 188 xxi The Position of the Artist. Sculptors of Today 194 xxn My Place in Sculpture 2 10 APPENDIX i The Strand Statues Controversy 217 n The Tomb of Oscar Wilde, Attack and Defense 254 in Mr. Epstein and the Critics by T. E, Hulmc 271 iv The Statue of Christ 278 v The Muirhead Bone Memorandum on the Hudson Memorial 288 vi The Battle of Day and Night 300 vii Genesis and the Journalists 308 vni Behold the Man 320 ix Consmmmtum Est 3 3 1 x Adam 34 xi Catalogue of the CMef Works of Jacob Epstein 354381 ILLUSTRATIONS The Visitation Frontispiece FACING PAGE Woman md Child the Strand Statues 26 Nan 36 Israfel 36 Dolores 50 Joseph Conrad 64 George Bernard Shaw 64 Albert Einstein 68 Admiral Lord Fisher 68 Haile Selassie Emperor of Abyssinia 74 JR. B, Cunninghame-Graham 80 The th Duke of Marlborongh 86 The Christ 94 Rimar-the W. H...